Alien World Series C137-Yarma┃C132-Retta
這是在夢想動畫實習期間的團隊作品，全片以虛擬拍攝(Virtual Production)技術拍攝，並以「外星世界」為主體發想的系列影片。
在製作過程中，我們不斷反思是甚麼給我們帶來外星感，各式各樣的電影、電玩作品中，外星球幾乎已經是一個被發展到極致的主題，各式各樣的作品不斷在靠訴大眾何謂「外星感」，但同時我們也反思，在已經訂下外星球的這個大主題上，似乎沒必要再大量堆疊常見的外星元素構成一個場景去呈現，而是引導觀眾在觀看過程中，自然而然產生「這似乎不是我們所在的地球」的感想，才是我們想呈現的。
在製作過程中，我們不斷反思是甚麼給我們帶來外星感，各式各樣的電影、電玩作品中，外星球幾乎已經是一個被發展到極致的主題，各式各樣的作品不斷在靠訴大眾何謂「外星感」，但同時我們也反思，在已經訂下外星球的這個大主題上，似乎沒必要再大量堆疊常見的外星元素構成一個場景去呈現，而是引導觀眾在觀看過程中，自然而然產生「這似乎不是我們所在的地球」的感想，才是我們想呈現的。
This is a team project I worked on during my internship in Moonshine XR Studio, a series of films centered around an "alien world" concept that were shot entirely using Virtual Production technology.
During the production process, we constantly reflected on what gave us a sense of being in an "alien world". Given the vast number of films and video games that have explored this theme to its extreme, we felt it was unnecessary to simply pile on common alien elements to create a scene. Instead, we aimed to guide the audience towards a natural realization that "this doesn't seem like our Earth" as they watched the films. This was the feeling we wanted to convey.
During the production process, we constantly reflected on what gave us a sense of being in an "alien world". Given the vast number of films and video games that have explored this theme to its extreme, we felt it was unnecessary to simply pile on common alien elements to create a scene. Instead, we aimed to guide the audience towards a natural realization that "this doesn't seem like our Earth" as they watched the films. This was the feeling we wanted to convey.
C132-Retta
在第一個星球上，逆行是核心元素，重力逆行造成周圍石塊紛紛向上漂浮，時間也彷彿失序般回朔到原來的狀態，剛在這座星球上的探險家還來不及搞清楚狀態，一條時間回朔後出現的空橋就在他腳下展開……
On the first planet, we used retrograde as the core element. The retrograde gravity caused the surrounding stones to float upward, and time seemed to regress to its original state. Just as the explorer on this planet was still trying to understand the situation, a bridge that appeared after the time regression was right beneath their feet...
On the first planet, we used retrograde as the core element. The retrograde gravity caused the surrounding stones to float upward, and time seemed to regress to its original state. Just as the explorer on this planet was still trying to understand the situation, a bridge that appeared after the time regression was right beneath their feet...
Inverted Time Effect
為了達到回朔的效果，並且要確保在即時渲染拍攝下的效能，我們採用VAT貼圖的方式(Vertex Animation Texture)，在Houdini中先建立好動態效果後，烘焙到VAT貼圖，輸入進UNREAL中即可得到動態的資訊，並且能在模型面數不高的情況下，達到以往需要大量物理運算效能才能達成的效果，並且可配合時間線任意調整。
Floating Rock Effect
Scene Design
C137-Yarma
第二個星球上，選用了洞窟作為元素，但在其中加入許多不熟悉的元素來營造外星感，如發光的植物、漂浮的粒子等等。同時我們也在短短的影片中試圖放進故事線，由一個失事的飛行員在洞穴中醒來開始…
On the second planet, we used caves as an element, but added many unfamiliar features such as glowing plants and floating particles to create an alien atmosphere.
At the same time, we attempted to include a storyline in the short film. It begins with a crash-landed pilot awakening in the cave......
On the second planet, we used caves as an element, but added many unfamiliar features such as glowing plants and floating particles to create an alien atmosphere.
At the same time, we attempted to include a storyline in the short film. It begins with a crash-landed pilot awakening in the cave......
UI Design
在分鏡中，有一幕是角色手上的監控螢幕會跳出警告並且要操作關掉警告，我設計了其中的ui介面，並且為了拍攝上可以配合演員時間點和重複拍攝，我直接在unity中開發可操作的應用程式在手機上執行，拍攝時演員可以直接真實操作。
In one of the storyboard scenes, the character's monitoring screen shows a warning that needs to be acknowledged and cleared. I designed the UI interface for it and developed a functional application in Unity to simulate the interaction. This allowed the actors to operate the interface in real-time during filming and enabled us to capture multiple takes as needed.
In one of the storyboard scenes, the character's monitoring screen shows a warning that needs to be acknowledged and cleared. I designed the UI interface for it and developed a functional application in Unity to simulate the interaction. This allowed the actors to operate the interface in real-time during filming and enabled us to capture multiple takes as needed.
Color Grading
Full Credits:
製作公司｜
夢想動畫 Moonshine Animation
夢想指導組
監製｜走狗
技術指導｜王信翔
Unreal Virtual Production 指導｜黃永杰
UE 場景美術指導｜陳函君、王文凡、曾于槙、黃于庭、林依依、傅秀曄
導演｜劉昱廷
現場技術執行｜趙俊宇
講師｜朱家靚、閻柏安、李柏權、鍾語桐、林彥維、聞書聆、林栩安、温兆銘、林家齊、陳俊霖、鄭喬鴻、安良啟
實習統籌｜Iris Hsu、Una Cheng
組別指導老師｜王信翔、王文凡、黃于庭、曾于槙
業界製片攝影組
製片｜孫偉強
製片組｜王琦凱、李政諺、陳怡均、賓夢瑄
攝影師｜彭皓益
攝影組｜梅書豪、裴佶緯、陳柏叡、余元寵、湯唯翔、吳耕緯
攝影器材｜仰角國際影業
燈光師｜許富嘉
燈光組｜孫大鈞、羅煒
燈光器材｜視動影像製作有限公司
C137-Yarma
專案負責｜李明學
專案助理｜徐華璟
導演｜李明學
編劇｜徐華璟、李明學、洪嘉甫
概念美術｜李明學
技術美術｜吳宜庭
模型｜蔡宜峻、洪嘉甫、許子安、徐華璟
材質｜邱傳恩
貼圖｜黃煒勛、李明學、徐華璟
構圖｜李明學
分鏡｜李明學、徐華璟
使用者介面｜柯柏羽、蔡宜峻
平面設計｜陳薇淨
燈光｜李明學
特效｜吳宜庭
優化｜許子安、邱傳恩
場記｜洪嘉甫
服裝設計｜蔡宜峻
演員｜黃煒勛
剪輯｜李明學、徐華璟
合成｜吳宜庭
調色｜柯柏羽
專案負責｜李明學
專案助理｜徐華璟
導演｜李明學
編劇｜徐華璟、李明學、洪嘉甫
概念美術｜李明學
技術美術｜吳宜庭
模型｜蔡宜峻、洪嘉甫、許子安、徐華璟
材質｜邱傳恩
貼圖｜黃煒勛、李明學、徐華璟
構圖｜李明學
分鏡｜李明學、徐華璟
使用者介面｜柯柏羽、蔡宜峻
平面設計｜陳薇淨
燈光｜李明學
特效｜吳宜庭
優化｜許子安、邱傳恩
場記｜洪嘉甫
服裝設計｜蔡宜峻
演員｜黃煒勛
剪輯｜李明學、徐華璟
合成｜吳宜庭
調色｜柯柏羽
C132-Retta
專案負責｜許子安
專案助理｜徐華璟
導演｜柯柏羽
編劇｜陳薇淨、柯柏羽
概念美術｜蔡宜峻
技術美術｜柯柏羽、吳宜庭
模型｜邱傳恩、洪嘉甫、黃煒勛、蔡宜峻、陳薇淨、徐華璟、吳宜庭、許子安
材質｜邱傳恩、許子安
貼圖｜邱傳恩、洪嘉甫、黃煒勛、李明學、徐華璟、吳宜庭、許子安
構圖｜蔡宜峻、許子安、邱傳恩、柯柏羽、陳薇淨
分鏡｜陳薇淨、柯柏羽、吳宜庭
平面設計｜陳薇淨
燈光｜許子安、陳薇淨
特效｜柯柏羽、李明學、洪嘉甫、吳宜庭
優化｜邱傳恩、許子安
場記｜洪嘉甫
服裝設計｜洪嘉甫
演員｜蔡宜峻
剪輯｜吳宜庭
合成｜吳宜庭
調色｜吳宜庭
專案負責｜許子安
專案助理｜徐華璟
導演｜柯柏羽
編劇｜陳薇淨、柯柏羽
概念美術｜蔡宜峻
技術美術｜柯柏羽、吳宜庭
模型｜邱傳恩、洪嘉甫、黃煒勛、蔡宜峻、陳薇淨、徐華璟、吳宜庭、許子安
材質｜邱傳恩、許子安
貼圖｜邱傳恩、洪嘉甫、黃煒勛、李明學、徐華璟、吳宜庭、許子安
構圖｜蔡宜峻、許子安、邱傳恩、柯柏羽、陳薇淨
分鏡｜陳薇淨、柯柏羽、吳宜庭
平面設計｜陳薇淨
燈光｜許子安、陳薇淨
特效｜柯柏羽、李明學、洪嘉甫、吳宜庭
優化｜邱傳恩、許子安
場記｜洪嘉甫
服裝設計｜洪嘉甫
演員｜蔡宜峻
剪輯｜吳宜庭
合成｜吳宜庭
調色｜吳宜庭
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